The University of Oregon is taking West cCoast collegiate a cappella by storm.

On Jan. 31, UO’s a cappella groups Mind the Gap and On The Rocks placed first and second, respectively, in the West Quarterfinals of the International Collegiate Championship of A Cappella (ICCA). They advance together to the ICCA West Semifinals that will be held on March 28.

For the ICCA, groups from all over the country prepare sets of music using only their voices, complete with choreography and beat-boxing effects. You may be familiar with the name — the popular movie Pitch Perfect was inspired by the ICCA. The movie’s intense rivalry between an all-male and all-female group should be familiar as well: it was based on On The Rocks and Divisi, UO’s all-female a cappella ensemble (Divisi chose not to compete this year.)

As is often the case, the movie didn’t quite get it right. “That movie portrays being in an a cappella group as super cutthroat. When you’re in On The Rocks, it’s something else,” said member Jack Strother-Blood. “You’re not worried about impressing anyone, you’re just being yourself.”

Travis Turley, another On The Rocks member, added that this competition “is the first time (On The Rocks has) competed in six years.”

For Mind The Gap, the world of competition is a bit more familiar. The group came home with a win at last year’s quarterfinals as well, and is driven to continue that tradition.

“People don’t really see us as the “winning group,” but this year I feel like people are starting to,” Cameron Graham, a member of Mind The Gap, said. “Since we got first place last year, we built up a little bit of momentum, and I think we’re becoming more of a name this year,” added Micah Collamer, another singer in the ensemble.

Mind The Gap sees itself as much more than its successes, however. “It’s like being in a brotherhood or a sisterhood… It becomes that, and the singing is the side part,” said Graham.

That friendly spirit exists across group lines, as well. When asked their thoughts on advancing together, response was positive from both groups. “I thought we both did the best and I was just happy that we were able to represent Oregon” said Strother-Blood.

Donovan Cassell, another member of On The Rocks, added, “We were really happy that it was two University of Oregon groups and not one U of O group and the group from Western. We have a horrible rivalry with them.”

As the semifinals approach, both On The Rocks and Mind The Gap are hard at work polishing their sets and making travel plans. Though competitive stress is mounting, the groups share a similar philosophy: “Our top goal is just giving what we have, and just having fun,” said Strother-Blood. Mind the Gap’s Lauren Kahn echoed this sentiment.

“I want to be able to look at the video of our performance, and just be like, yeah. That’s what we meant to do.”

Keep up with Mind The Gap and On The Rocks on Twitter as they take on the Semifinals: @uomindthegap & @uoontherocks

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Who’s Afraid of Virginia Woolf? is not about Virginia Woolf. There are no grand allusions to influential modernist literature or tributes to Woolf’s novels. Virginia Woolf herself is essentially meaningless in the context of this play, but that is part of its genius. Oregon Contemporary Theatre’s production of Edward Albee’s Tony Award-winning drama stretches the boundaries of sanity and stability as it explores questions far more pressing than the one posed by the title. Though Who’s Afraid of Virginia Woolf? was long and heart-wrenching, it presented a moving story with honesty, intelligence, and dark humor.

This play is an American classic, produced countless times on stage and perhaps most famously, on screen in 1966. The script is undoubtedly brilliant. Albee’s characters are simultaneously abhorrent and sympathetic. The play consistently builds in intensity and scope over three long acts, and raises dark questions about truth, illusion, and fear that are accented with bursts of sharp humor.

Credit must also be given to Oregon Contemporary Theatre’s production. Even the best-written play has the potential to fail, but that was hardly the case with this show. The set was perfectly suited to this play: a small, intimate studio theatre. It felt as if the audience was sitting in the living room with the characters, and part of the unfolding action.

Even more importantly, the cast was stellar. Each member of the four-person ensemble brought idiosyncratic energy to the stage. Lyn Burg was mesmerizing as the loud, vulgar Martha. Her onstage presence was at times abrasive and uncomfortable, but intentionally so. As the play progressed, her character developed unprecedented depth.

Dan Pegoda was equally impressive as Martha’s husband, history professor George. Pegoda’s almost musical voice delivered George’s wordy, intelligent lines with ease, and his character’s tense aggression was the perfect complement to Burg’s larger-than-life Martha. The entire play revolves around their flawed, almost sadistic relationship, and even at its most insane, the connection between George and Martha felt painfully honest.

At times, the characters’ deep discourse fell into academic incoherence, and at just over three hours, fully absorbing this play took stamina. By the end, however, it was worth it. Who’s Afraid of Virginia Woolf? is a tense, alcohol-soaked exploration of failed relationships and human flaws. The characters are as easy to hate as they are to love, and by the end of the exhausting action, it’s still possible to sympathize with each of their unique struggles. This cast’s performance brought Albee’s masterpiece to life.

Who’s Afraid of Virginia Woolf? is no walk in the park. The story is dark and twisted, the characters flawed and sad. Taken as a whole, however, Oregon Contemporary Theatre’s production is thought-provoking, profoundly artistic, and a play worth experiencing.

Who’s Afraid of Virginia Woolf? runs Thurs-Sat nights through March 14 at 7:30 p.m., with Sunday matinees at 2:00 p.m. March 1 and 8. For more information, visit the Oregon Contemporary Theatre website.

The post Review: No need to fear OCT’s “Woolf” appeared first on Emerald Media.

We live in a world obsessed with what we can see. So many hours of every day are spent soaking up images and messages from pages and screens. Even music seems to be made for the eyes: music videos like Taylor Swift’s “Shake it Off” and Beyonce’s “Single Ladies” seem to define the songs’ popularity more than the music itself. Fred Craft’s Radio Redux, a radio theatre company based in Eugene, challenges all that.

Radio Redux deems itself as “radio worth watching.” The productions are live dramatizations of 1940s-era radio broadcasts (known as “theater of the mind,”) complete with period costumes, character voices, and physical sound effects. These productions transcend visual appeal, and pay tribute to broadcast radio’s golden age. The unique format challenges the audience to use their imagination and to entertain themselves beyond what the eye can see. In this Friday night’s performance, Radio Redux presented an adaptation of the classic film Casablanca, a riveting romance set in the throes of World War II. Though some elements of the story are ill-suited to the live-radio format, the actors’ excellent characterization and energy made for an vibrant and engaging production.

The storyline of Casablanca is familiar to many, thanks to the wildly popular 1943 film. This production, however, spiced up the story with an occasional dash of campiness. At one point, the audience participated in an interactive sing-a-long with the saloon musician, pun-laden joke commercials were thrown into the broadcast,  and large “Applause” signs were intermittently held up from the sound effects booth. These moments contributed to the overall nostalgic appeal of the show, and were well-balanced by the drama of the script and the beautiful music, both recorded and performed live by Stanley Coleman.

The cast performed extremely well, conveying the tension and drama of wartime diplomacy with a variety of character voices and accents. Bill Hulings was especially engaging as Rick, the story’s stoic, but ultimately sentimental, protagonist. His lines, full of dry humor and believable emotion, were well-delivered, and his chemistry with Nancy Hopps’ Ilsa was excellent. Achilles Massahos was also a stand-out as corrupt but endearing Captain Renault.

At times, Casablanca struggled with the inherent challenges of a live-radio format. It can be difficult for actors to display emotion without blocking or physical engagement. Scenes that relied on action or violence fell a little flat, and romantic moments were interrupted by the presence of the large vintage radio microphones.

These setbacks were minor however, in comparison the energy and vitality of the rest of the production. The tragic love story of Casablanca was well-suited for Radio Redux’s unique format, and the actors did justice to its many plot twists and dramatic moments. If Fifty Shades of Grey isn’t really your thing, or your eyes just want a break from an increasingly visual culture, end your Valentine’s weekend with Radio Redux. Sit back, close your eyes, and let your imagination enjoy some “radio worth watching.”

Casablanca‘s final performance is on Sunday, February 15 at 2 p.m. Performances are in the Soreng Theatre at the Hult Center, and tickets are $21, with student discounts available. Visit the Hult Center website or the Radio Redux website for more information.

This Valentine’s Day weekend, the University of Oregon Department of Dance will present its annual faculty show, Dance 2015. This show is a special part of the department’s schedule of performances, and this year’s production is especially unique.

The show will take place at 8 p.m. on Feb. 12, 13, and 14 in the Robinson Theatre.

“It’s going to be a dynamic and exciting evening,” said Shannon Mockli, associate professor of dance. “There’s high potential for one’s imagination to be engaged.” Mockli will be performing in the show with other members of the UO faculty, and also choreographed a piece, entitled “Canyons.”

Mockli’s piece, inspired by the landscape of her childhood in Utah, was produced in direct collaboration with Christian Cherry, the dance department’s music director. Mockli described this process as extremely unique and rewarding. “The music really takes one’s imagination to a canyon. It’s really amazing how (Cherry has) achieved that through music — It captures the vastness and the depth.” In this piece, choreography and composition combine to paint a picture of the American southwest.

Collaboration of this kind seems to be a theme of this show. For example, unlike other department productions throughout the year, Dance 2015 is produced with the support of the UO Theatre Arts Department, and will take place in the Robinson Theatre, part of the Miller Theatre Complex on campus. Costume and lighting designers from the theatre department are assigned to each choreographer, a challenging and rewarding process for both parties: choreographers get the chance to see their work fully produced, and the theatre department gets the opportunity to adapt their work to the unique constraints of a movement-based art form.

This show is also the department’s only yearly production to feature faculty performances. Though faculty members work closely with students throughout the year, this level of participation showcases collaboration between teacher and student both onstage and behind the scenes.

Dance 2015 is also unique in its featured guest artist, New York-based choreographer Michelle Boulé. Boulé is the dance department’s Boekelheide Award winner this year, and will be staging an original piece on UO dancers entitled “Light. White”. “I’ve heard some exciting things about their costume designs,” Mockli said. “We’re definitely excited about her residency and her work.”

Mockli said that students attending Dance 2015 are going to “have a theatre experience that perhaps they aren’t used to. It’s contemporary, so some of the works are experimental, they are abstract.” That being said, this production will showcase some of the best dance talent at this University across genre, age and style. The wide scope of new, unusual and collaborative art being created will certainly spark thought and imagination.

“It’s just been a rich process for us choreographers and performers,” Mockli added. “I believe that that kind of enriching process will show through in the performance itself.”
The UO Dance Department will present Dance 2015 on Feb. 12, 13, and 14 in the Robinson Theatre. Tickets are $10 general admission and $5 for students and seniors. Visit the event webpage for more information.

Rolling For Charisma, written and directed by David Gallagher, a University of Oregon student and theater arts major, opens at 5 p.m. on Friday, Feb. 13 in the Pocket Playhouse and runs for two additional shows on Feb. 14 at 2 and 5 p.m.

The Emerald spoke with Gallagher about Rolling for Charisma, the challenges and rewards of playwriting and how to summon a love story out of a game of Dungeons & Dragons.

Where does the title Rolling for Charisma come from? 

Rolling for Charisma, I thought, was a very clever way of saying that this show is about not only tabletop role-play and D&D, but also about relationships. This is a show that’s about people. It’s about people trying to get along, people trying to get together, people trying to stay together… all surrounding this one game of D&D.

Could someone unfamiliar with D&D appreciate this show? 

Yeah, absolutely. The main character is actually unfamiliar with D&D, and so she’s a great guideline as the story progresses… we explain [D&D] in a very concise manner that is also relatable to the story. That was very important to me — that anyone could join this show, and that those with special interest would get extra bonuses from references and whatnot.

For many, D&D and love stories seem pretty unrelated. Why did you choose to blend them in this play? 

I find that our culture right now is becoming much more open about a lot of niche interests; people are being cut off from one another less and less because of their interests. So the idea of the extremely anti-social and geeky person who can’t get a date that everyone is so used to is starting to be replaced with the idea of people falling in love over D&D — people just forming these really strong relationships in whatever interests they have.

What’s one lesson you’ve learned from this process as a playwright/director? 

As a playwright, it’s very important to stay organized. That was one of the fallbacks I had. As I was writing, and I had all my really fun ideas going, I lost track of some of my threadlines. As a director, this show has a lot going on. We have the real world, which is around a table. We have the fantasy world, which has fighting and things like that. And we also have sound designed by Gabe Carlin – he is going to perform as many of the sound effects as possible live. We have a lot of things up in the air. I’m learning that I don’t have to take care of every single little thing myself, that I can share my responsibility with others who are part of my team.

Any other thoughts? 

I think that this show is really fun. And it’s funny. And it’s very interesting that it’s coming out on Valentine’s Day weekend because it is just as much about relationships as it is about gaming. I think it’s a very fun date show, and I’m just really excited, and a lot of other people are excited, and I think we’re earning that excitement.

Rolling for Charisma is free for UO students, though a $1 donation to the Pocket Playhouse is suggested. Visit the Pocket Facebook page for more information.

Download our podcast with David Gallagher on our SoundCloud page.

It can be hard to roll out of bed in the morning without the promise of a steaming mug of bliss.

Coffee drinkers come in all shapes and sizes. Some drink it for the morning routine. Some people desperately need the caffeine to drag themselves to class. Others drink coffee for the deep social comfort that can only be achieved with a cardboard cup in one hand and an iPhone in the other.

You might be surprised to learn, however, that there are equally as many kinds of coffee drinks. I’m not talking about the secret menu at Dutch Bros., or the multitude of Frappuccino recipes that Starbucks has devised.

Think instead about the menu at that trendy coffee shop: What are all those Italian words you’ve never seen before. Ristretto? Lungo? What’s the difference between a caffé latte and a flat white? How can you post a gloriously artsy Instagram if you don’t even know what to order?

Fear no more: Your coffee IQ is about to increase. Here’s what you need to know about the most popular espresso drinks:

Espresso

Espresso is the base of most coffee shop beverages. It has a strong flavor and rich texture, plus a concentrated caffeine level that is not for the faint of heart. The name “espresso” comes from the made-to-order nature of the drink: Each shot is drawn fresh upon customer request. The terms “ristretto” and “lungo” refer to “short” and “long” shots. Both have the same coffee content, but different amounts of liquid.

Caffè Latte

In its purest form, a latte is one part espresso, two parts steamed milk and topped with a layer of foam. Lattes are popular for mild flavor and endless potential for modification. Try your latte with vanilla, chocolate, caramel or even pumpkin spice.

Americano

Do you like the flavor of espresso, but want more than a single shot to sip on during your morning commute? An Americano combines one part espresso with two parts hot water. This drink combines the lighter texture of traditional coffee with the aroma and complex taste of espresso, making a perfect compromise.

Cappuccino

Another classic. This drink features the holy trinity of coffee culture in perfect proportion: one part espresso, one part steamed milk and one part foam. If you opt for a “dry cappuccino,” you’ll get a drink with a slightly larger ratio of foam to steamed milk.

Flat White

With its recent addition to the Starbucks menu, the flat white has risen to the forefront of coffee-related questions: What is it? This Australian drink is very similar to a latte: It features a 1-to-2 ratio of espresso to milk. The difference lies in the thin layer of “microfoam” on top,  intended to create a velvety texture.

Caffè Machiatto

Contrary to popular belief, an espresso machiatto is not a shot of espresso drenched in caramel sauce and 2 percent milk. Though its highly sugary (and addictive) little sister has its perks, a true machiatto is simply a shot of espresso “touched,” or “stained” with a little bit of foam.

Caffè Breve

If you’re a fan of lattes, give a caffè breve a try. This indulgent variation combines one part espresso and one part steamed half-and-half, plus a little bit of foam on the top. A breve may not be the best addition to a daily routine health-wise, but when you’re looking to treat yourself to something rich and creamy it definitely hits the spot.

The small stage of the University of Oregon’s Pocket Playhouse was transformed into a living room on Friday night. The lights rose to reveal two respectable looking couples engaged in polite conversation. Any semblance of normalcy ended there. The Pocket’s production of God of Carnage is tense and absurd, but deliberately so. The over-the top characters, witty script and high energy made for a production well worth watching.

God of Carnage depicts an exchange between two seemingly average couples: Michael and Veronica Novak and Annette and Alan Raleigh. What starts as a discussion about a quarrel between their sons quickly escalates into a roller coaster of emotion and ridiculous behavior. The action ebbs and flows as the most commonplace of issues are turned into huge ordeals, much to the audience’s amusement. Objects are thrown, insults are shouted and all attempts at manners or convention are flung out the window. God of Carnage pokes fun at adults who engage in genial, mature conversation and have outwardly normal mannerisms, and it’s hard not to laugh.

This play was especially well-suited for the Pocket’s theatre environment; it felt as if the audience were sitting in the living room with the cast, observing the wild scene firsthand, which makes for an exciting effect. Additionally, the four-person ensemble cast seemed to feed off one another with positive results. Each of the characters was well-developed and flashes of endearing insanity shone through the fast-paced dialogue. The play seemed to reach its climax several times and was at its best just before these bursts of energy, when the stakes were high and every actor seemed fully invested in the action.

Rikki Scott was especially excellent as the opinionated and occasionally abrasive Veronica Novak. She produced some of the loudest laughs of the evening, and her characterization, both physical and vocal, set her apart. Scott’s high energy and comic timing kept the plot moving, even through the show’s occasional lapses in energy.

As a whole, God of Carnage was an excellent example of the kind of work students on this campus are capable of producing. There’s something oddly satisfying about watching four characters make complete fools of themselves. The play’s depiction of social chaos is certainly ridiculous, but moments of the argument felt unfortunately relatable – social commentary at its finest and funniest. Though at times farcical and quite uncomfortable, God of Carnage is well-acted and well-directed. Veteran theatre-goers and newcomers alike will undoubtedly be entertained.

God of Carnage performs Saturday January 24 at 2 p.m. and 5 p.m. in 102 Villard Hall. Admission is free, but donations are encouraged. For more information, visit the Pocket Playhouse Facebook page.

The set for University Theatre’s love & information looks like a piece of modern art. Electric blue paint covers the small, intimate theatre’s floor and walls, a row of soup cans sits on a shelf and lamps hang upside down from the ceiling. Looking at it, you recognize that it’s beautiful, but you can’t quite understand why. It’s like a Picasso painting or a post-modern poem. In fact, it’s a lot like the show itself. The artistic value is obvious. The purpose and meaning, however, is a little harder to grasp.

love & information opens this Thursday, Jan. 22, and runs just under 90 minutes with no intermission. The play is vignette style: It consists of short, ostensibly unrelated scenes performed by an ensemble cast, creating an effect that director John Schmor fittingly describes as “kaleidoscopic.”  There is no “A to Z narrative” in this play and no actor portrays the same character twice – a unique artistic challenge for both the actor and the audience.

The 12-person ensemble admirably embraces the difficult material. The variety in characterization as actors jump from character to character is compelling. Transitions between scenes are quick and seamless and the energy onstage is captivating. This cast has been rehearsing since October, and it shows. Schmor commented that he chose to direct this play because of the “experience of ownership” it offers college actors and a collaborative spirit it inspires. It’s apparent that the cast of love & information takes full advantage of that opportunity.

This isn’t to say that the play is without its setbacks. Though the cast performed the scenes with skill, some are a little too strange to swallow. Intimate, powerful onstage moments are immediately followed by what feels like fodder for Saturday Night Live spoofs of high school theatre. The only thing holding these opposites together is the faint philosophical concept of “information.”

One could argue that love & information is a play for our generation: Stories are presented in small “bytes,” and there are plenty of references to iPhones that our great-grandparents could never comprehend. This play has a lot of value, especially from an acting standpoint. Some of the individual scenes are truly relevant and moving. Nonetheless, the play as a whole lacks any kind of satisfying cohesion. love and information does not leave the audience thinking about its meaning, but rather trying desperately to think of its meaning. Perhaps that is modern art at work here, and from afar the beauty is easy to appreciate. The average audience member, however, might want a little bit more.
love & information runs Jan. 22, 23, 24, 29, 30, 31 at 8 p.m., and Feb. 1 at 2 p.m. Performances are in the Hope Theatre on campus, and tickets are FREE with your U of O student ID. More information can be found at the University Theatre website.

An air of nostalgia and quiet excitement filled Eugene’s Very Little Theatre Friday night. Audience members mingled and sipped free coffee as the local community theatre company prepared to open their production of Jon Robin Baitz’s Other Desert Cities.

The atmosphere of the VLT is simple and quaint, with poster tributes to past seasons and goofy dated pictures adorning the walls. As I took my seat, I braced myself for an evening of charming and possibly saccharine tributes to “the old days.”

I couldn’t have been more mistaken. Other Desert Cities is a brilliantly written Tony-nominated script following a dynamic, dysfunctional family as they to come to terms with a long-repressed tragedy one Christmas Eve. From the first scene, challenging topics like politics, grief and mental illness were brought to the table with dark comedy and raw emotion. Sharp one-liners were sprinkled between emotional monologues, and the overall effect was a mesmerizing balance of the entertaining and the deeply relatable.

The actors skillfully tackled the difficult script. Actress Christine Hanks shone as haughty, yet loving matriarch Polly Wyeth, and VLT veteran Bill Campbell was equally excellent: his portrayal of Polly’s husband, Lyman, was haunting and natural.

Their characters – the kind of people who throw fundraisers for a living and refer to former President Ronald Reagan as “Ronnie” – were at once hilarious, frightening and very human. The rest of the cast seemed to embrace their characters with equal passion, though some body language felt forced, especially in Brett French’s Tripp Wyeth. A few line slips were apparent as well, especially in the first act, but they were rare enough to be written off as opening night jitters.

Overall, the performance was well acted and directed. At times, the dialogue moved a touch too slow; other times, the fast-paced banter was mesmerizing. People in the seats around me occasionally cringed at the heavy, emotional material. But by the end of the play, the honesty behind it redeemed any discomfort. Other Desert Cities made me think, and in my opinion, that’s a mark of great theatre. Though the VLT’s target demographic is definitely a few generations older than your average University of Oregon student, this play felt relevant and its message transcends barriers of age, ideology, and background. Other Desert Cities wasn’t perfect, but it was moving, funny and, ultimately, thoughtful. If you’re looking for a night of theatre in Eugene, there’s not much more you could desire.

Other Desert Cities runs January 17-18, 22-25, and 29-31. Performances begin at 7:30 p.m. Thurs-Sat and Sunday matinees are at 2:00 p.m. Tickets are $17; Thursdays are $12.

Visit the Very Little Theatre website for more information.

Every Tuesday and Thursday night, a small yet diverse group of students trickle into Gospel Singers rehearsal. Bags are pushed under chairs to a soundtrack of improvised piano and excited chatter. At 6 p.m. sharp, director and University of Oregon alumnus Andiel Brown takes his place at the front of the room.

This isn’t your average choir rehearsal, however. The singers hold no music, and there is no harsh metronome keeping the beat. Rather, singers step energetically from side to side, and vocalize freely under their breath between numbers. They belt in harmony, questioning: “Will there be a settlement between the nations, and it end in peace? World, are you about to end?” The attitude is relaxed, but the message is clear: through music, the UO Gospel Singers have something important to say.

The UO Gospel Singers are an elite, auditioned ensemble who perform at the local, national and international levels. In 2013, they were the first gospel group to tour and perform in China. Under Brown’s direction, this ensemble, along with the UO Gospel Choir and Gospel Ensemble, has established a strong tradition of excellence at the university.

This Thursday was the UO Gospel Singers’ last regular rehearsal before their Martin Luther King, Jr. Day Celebration performance on Monday, Jan. 19. They certainly worked hard, but perfection was not the focus. It was clear throughout the rehearsal that the message of the music and the energy of the choir are more than enough to blow any audience away. Brown took the lead on Michael Jackson’s “Man in the Mirror” while the rest of the choir quickly learned and backed him up with energetic vocals. Each song that followed echoed the same message of positivity, hope and a need for change. Singers from just about every walk of life clapped their hands and exuded raw emotion.

For a lot of students, Martin Luther King, Jr. Day is simply an excuse to leave campus for the long weekend, or a chance to catch up on all that reading we didn’t do during syllabus week. This performance, however, will highlight the ideas behind the holiday: the message that Dr. King represents. Aside from “Man in the Mirror,” and other pieces from the Gospel Singers’ repertoire, Monday’s program will feature special guest artists that “showcase the cultural contributions of Afro-Cuban folkloric song, dance and percussion.” Monday is a good a time as ever to experience this oft-ignored artistic culture. This afternoon of music will be uplifting, powerful and totally worthwhile.

The UO Gospel Singers Martin Luther King, Jr. Day Celebration is Monday, Jan. 15 at Beall Concert Hall. The event is at 3 p.m. and admission is free. More information can be found at the U of O events web page.